A Simulation Framework for Assessing ‘Appropriateness’ of Musical Parody in the 21st Century...

A Simulation Framework for Assessing

'Appropriateness' of Musical Parody in the 21st Century Malaysia

Chow Ow WeiUPM International Colloquium for Music Research 2014

31 MAY 2014

Listen, Listen, Listen: Phenomenon & Analysis

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Listen! Listen! Listen! Listen! Listen! Listen! Listen! Listen! Listen! Listen! Listen!

No. 1: When this is our programme, we allow you to speak. No. 2: When I speak, you listen!

Do not equate Malaysia with other countries. If you equate Malaysia with other countries, what are you doing in Malaysia?

Go to Cuba, go to Argentina, go to Libya, go everywhere. Because all the students in this hall are happy with whatever the government does for them.

Let me speak! Let me speak! Let me speak! Let me speak! Let me speak! Let me speak! Let me speak!

The difference between you and me is a degree and ‘O’ Level. That’s all.

Today… simultaneously you have proofed that you have a very least of education.

You know what education you need? No. 1: respect the adult. No. 2: Always have a differentiation gap between age.

Do you think only human has problem? I’ll show you what else has problem. Animals have problems.

If you are not happy, you are very much suitable to go another university.

Video highlight: “Dance Remix: Listen! Listen! When I Speak, Listen!”

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2013

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Communication & Multimedia Act 1998 (Act 588)

Film Censorship Act 1998 (Act 620)

Guideline on Malaysian Content Code

Malaysian Communications & Multimedia Content Code

Dance Remix: Listen! Listen! When I Speak, Listen!

Guidelines on Film Censorship

Simulation Framework

Constructing a Simulation Framework:I Justifying ‘Malaysian Content’

Does it contain ‘Malaysian content’?

Constructing a Simulation Framework:I Justifying ‘Malaysian Contents’

Does it contain ‘Malaysian contents’?

Yes.

Constructing a Simulation Framework:II Censoring

Film Classification (Guideline for Film Censorship, 2012)

This category is suitable for viewing by all levels of society without any age restrictions. The film displays noble values, is decent, imparts positive message and is entertaining.

This category is suitable for viewing by those aged 13 years and above. Viewers aged below 13 years require the guidance of their parents or guardian. The film has some scenes of violence or horror.

This category is suitable for viewing by those aged 18 years and above. The film contains elements of violence, horror and sex that are not excessive or may touch on aspects of religion, socio-culture and politics.


Result of Simulation FrameworkType: Musical (Music Video)Themes: Entertainment, Social, PoliticsTotal Cut: None (Passed Clean)Classification: 18Synopsis/ Description:

This music video developed from a video recording, “Forum SuaraMahasiswa” begins with a scene showing two women arguing in a seminar hall in Malaysia that filled with some university students as the one interrupts another and speaks dominantly. Recurring items throughout the video are: • Audio expressions such as “listen”, “when I speak, listen” and “let me speak”.• Visual loops feature the scene when the woman in black seizes the microphone from

another, her exaggerating body movements and finger-pointing gestures as well as hilariously-looking expression of another woman.

• Animal cartoons.


The Basis of Classification• Based on a parody theme on another video which was chosen as the

source of spoofing without a substantial, positive meaning to society. • No obvious plot and only to imply the a woman’s dominance by

emphasising “listen, listen…” in the ‘lyrics’ and her ‘dancing’ to the accompanying musical beat.

• No violent, horror or sexual connotations but clearly depicts racist behaviour and aggressive confrontation that may bring about doubt and uneasiness among audience. Only recommended for mature audience.

• No coarse language or profanity.


Parody work that may contain some negative implications according to Guidelines on Film Censorship, the Communications and Multimedia Act 1998 (Act 588)and the Malaysian Communications and Multimedia Content Code.


Guidelines on Film Censorship (Ministry if Home Affairs, 2012: 5–13)

Subsection 2.1.1 (v):

Dialogue, lyrics and actions that are provocative, slanderous or stir social unrest by bringing about doubt and uneasiness which finally threaten safety, public order and national security.


Dialogue, lyrics and actions that are provocative, slanderous or stir social unrest by bringing about doubt and uneasiness which finally threaten safety, public order and national security.

Subsection 2.3.1 (i):

Display of negative content that degrades, mocks and dispute the customs and traditions and the sovereignty of the Malay rulers, governors and national issues.

Subsection 2.3.1 (vii):

Mocking or scaremongering that can lead to confusion about the customs and ceremonies in Malaysia.


Dialogue or scenes which show contemptible, discourteous and despicable actions that are projected as normal or a source of amusement.

Subsection 2.3.2:

Does not reflect the cultures and the arts of the nation.

Subsection 2.3.1 (ix):

Scenes of oppression of a race or society.


The Communications and Multimedia Act 1998 (Act 588): 108–109

Subsection 211 (1):

No content applications service provider, or other person using a content applications service, shall provide content which is indecent, obscene, false, menacing, or offensive in character with intent to annoy, abuse, threaten or harass any person.


Malaysian Communications and Multimedia Content Code (Communications and Multimedia Content Forum of Malaysia, 2004: 17)

Section 7: False Content

7.1: Content, which contains false material and is likely to mislead, due amongst others to incomplete information is to be avoided. Content providers must observe measures outlined in specific parts of this Code to limit the likelihood of perpetuating untruths via the communication of false content.

7.2: Content is false where prior to communications reasonable measures to verify its truth have not been adopted or taken.

7.3: Content which is false is expressly prohibited except in any of the following circumstances: (a) Satire and parody; (b) Where it is clear to an ordinary user that the content is fiction.

7.4: Code Subjects must take all necessary steps outlined in the specific parts of this Code to limit the likelihood of provision of false Content.


Guidelines on Film Censorship (Ministry if Home Affairs, 2012: 23)

Section 2, Part V: “Films not Approved for Screening”:

Films that have an illogical theme, storyline or plot that may lead the citizens astray and cause foreign countries to have a poor perception of the socio-culture and noble values of the local population will not be approved for screening.

However, being an exception as described in Subsection 7.3 of “Malaysian Communications and Multimedia Content Code”, the film does not contain excessive degree of illogical theme, storyline or plot and therefore it is approved for screening for restricted audience above 18 years old.

Contradictions towards Deconstruction

The Film Censorship Act 2002 (Act 620) cannot be construed as censorship basis to any film published, displayed, circulated, exhibited, distributed or transmitted over the Internet/ Intranet (p.8).

In a parody by audiovisual editing, it is not possible to credit anybody as the artist, performer, scriptwriter, lyricist or other production crew. Ironically, it will bring about confusion over ‘Malaysian content’ if a ‘non-Malaysian’ parody a ‘Malaysian’ video with the same method.

The constitution of ‘Malaysian content’ is problematic as to define ‘Malaysian content’ is to simultaneously inquire what constitute a ‘Malaysian’ and which creative component in the content can officially be owned by ‘Malaysian’. It is like creating a ‘multiculturalist paradox’ to segregate a production team into some fixed (and often mistaken) categories and to ultimately discourage multi-disciplinary or transnational undertakings. Such constitution does not work in cases where social and cultural hybridity greatly exists.


False content is prohibited with an exception of satire, parody, or a clearly fictional content (Communications and Multimedia Content Forum of Malaysia,

2004: 17). Despite an unreasonable exclusion of other types of parody art, the boundary between ‘falseness’ and ‘truth’ is still indefinite. Whether the parody potentially puts up some ‘negatively’ perceived content depends on a censor’s critical judgment, which is, however, dependent on personal subjectivity.

Conditions like ‘confusion’, ‘controversy’, ‘doubt’ and ‘uneasiness’ that stir ‘social unrest’ and eventually ‘threaten safety, public order and national security’ are seen as an interpretation of the effects a film may trigger, but factors that cause these conditions are not specifically provided. In order to avoid these conditions, audience should indeed recognise and understand the parody completely.


There is no official definition on the ‘cultures and the arts of the nation’, and therefore the allegation that a film ‘does not reflect cultures and the arts of the nation’ is often obscure. As a result, ‘undefined’, ‘grey’ normative areas are often interpreted by many unspoken rules.

The racial issue projected in the parody work is not false as it materialises scenes from a true, unjust incident. The exaggeration of the scene in the parody does not help oppressing the victim but in contrary help to publicly upright social justice.

Therefore, this simulation framework does not work to satisfy most audience.

Troublemaker or Alerter?

A mural by Ernest Zacharevic (2013) in Johor Bahru before being whitewashed by the municipal council.

Troublemaker or Alerter?

Finger pointing to the moon –

“To look at the moon, it is necessary to gaze beyond the finger.”

A Zen metaphor (Thum, 2008)

Painting from One Hundred Aspects of the Moonby Yoshitoshi Tsukioka月岡芳年

Conclusion

More Questions Derived1. Can appropriateness of musical parody be assessed with laws and

regulations? 2. How would laws and regulations be conditioned? 3. What are the normative considerations included and excluded as well? 4. Are the guidelines currently in use sufficient to neutralize all social biases?

How can we ensure the guidelines are not susceptible to preordained perception and diverse interpretation, as to enable the highest objectivity in a censor’s judgment?

5. Would it be a different scenario if the decision makers of classification and censorship represent the majority of Malaysian society and also obtain the understanding in music, dance, films and the arts?


‘Poking fun need not be at the expense of a fair go’ and unfettered parody, being more than just a joke, is ‘an excellent vehicle for critique and humour’ and a culture is thereby ‘enriched’. (Jewell and Louise, 2012: 11)

Opening Ceremony, XXII Winter Olympiad, Sochi, Russia Closing Ceremony, XXII Winter Olympiad, Sochi, Russia

How would we propose a perspective to see and appreciate a musical parody?

Source: http://www.themalaysianinsider.com/ malaysia/article/on-facebook-listen-listen-listen-womans-ngo-attacks-vocal-little-ambiga/

Bibliography

AFP Relaxnews (2014, 9 Feb). Lithuanian ‘Banksy’ makes Malaysian streets his canvas. The Malay Mail Online. http://www.themalaymailonline.com/features/article/ lithuanian-banksy-makes-malaysian-streets-his-canvas. Retrieved 2 May 2014.

Akmal Abdullah (2006, 4 May). Filem Lelaki Komunis Terakhir untuk rakyat Malaysia? [The Last Communist for Malaysian Citizens?] Berita Harian Online. Accessible via: Komunis & Kampung. http://lastcommunist.blogspot.com/2006/05/from-berita-harian-4-may.html. Retrieved 3 May 2014.

BBC Trending (2013, 13 Nov). Trending: Ernest Zacharevic, Malaysia's answer to Banksy. BBC News. http://www.bbc.co.uk/news/magazine-24924283. Retrieved 2 May 2014.

BBC (2009, 3 Sept). Hijab. BBC – Religion: Islam. http://www.bbc.co.uk/religion/religions/islam/beliefs/ hijab_1.shtml. Retrieved 2 May 2014.

Chong, Debra (2013a, 15 Jan). ‘Listen, listen, listen’ woman sparks new memes. The Malaysian insider. http://www.themalaysianinsider.com/malaysia/article/listen-listen-listen-woman-sparks-new-memes/. Retrieved 23 Feb 2014.

Chong, Debra (2013b, 15 Jan). On Facebook, ‘listen, listen, listen’ woman’s NGO attacks vocal ‘Little Ambiga’. The Malaysian insider. http://www.themalaysianinsider.com/malaysia/article/on-facebook-listen-listen-listen-womans-ngo-attacks-vocal-little-ambiga/. Retrieved 23 Feb 2014.

Bibliography

Chow Ow Wei (2014a, in print). Musical parodies for everyone? A hermeneutic study on the ‘Listen, Listen, Listen’ phenomenon in Malaysia. Paper presented at the 3rd Symposium of the ICTM Study Group on Performing Arts in Southeast Asia (PASEA).

Chow Ow Wei (2014b). Song about ‘mother’ at the verge of being ‘harmonised’: propagation of resistance against the Great Firewall of China. Music and Mind. Serdang: Univ. Putra Malaysia. 143–160.

Commissioner of Law Division (2006a). Communications and Multimedia Act 1998 (Act 588). Kuala Lumpur: Commissioner of law Division, Malaysia.

Commissioner of Law Division (2006b).Film Censorship Act 2002 (Act 620). Kuala Lumpur: Commissioner of Law Division, Malaysia.

Communications and Multimedia Content Forum of Malaysia (2004). The Malaysian communications and multimedia content code. www.skmm.gov.my/skmmgovmy/files/attachments/ContentCode.pdf . Retrieved 3 May 2014.

Gomez, Lydia (2013, 14 January). Video of forum speaker insulting student goes viral. Yahoo news. http://my.news.yahoo.com/video-of-university-forum-panelist-insulting-student-goes-viral-092706199.html. Retrieved 23 March 2014.

Jastin Ahmad Tarmizi (2014, 17 Jan). Police: No arrest of musician over “kangkung” song. The Star Online. http://m.thestar.com.my/story.aspx?hl=Police+No+arrest+of+musician+over+kangkung+song&id=%7BCE818FF1-D56A-4130-A82D-2CFD82B53492%7D. Retrieved 2 May 2014.

Bibliography

Jewell, Paul, and Jennie Louise (2012). It's just a joke – defining and defending (musical) parody. Australian review of public affairs 10 (2): 1–12.

Khoo Gaik Cheng (2011). Taking liberties: independent filmmakers representing the tudung in Malaysia. Islam and popular culture in Indonesia and Malaysia. Andrew N. Weintraub, ed. Abingdon: Routledge. 195–211.

Ministry of Home Affairs (2012). Guidelines on film censorship. 2nd ed. Kuala Lumpur: Ministry of Home Affairs.

Ministry of Information, Communications and Culture (2012). Guideline on Malaysian content definition. Kuala Lumpur: Ministry of Information, Communications and Culture.

Rosado, Caleb (1996). Towards a Definition of Multiculturalism. http://www.rosado.net/pdf/Def_of_ Multiculturalism.pdf. Retrieved 1 May 2014.

Soon Chuan Yean (2011a). A cartoonist’s resistance. Inter-Asia cultural studies. 12 (3): 420–429.

Soon Chuan Yean (2011b). The contest for moral politics: interrogating the cultural politics of Malaysian cultural groups. Kajian Malaysia. 29 (1): 215–238.

Star, the (2007, 15 Aug). Student rapper apologies. Archives – the Star Online. http://www.thestar.com.my/ story.aspx/?file=%2f2007%2f8%2f15%2fnation%2f18592215&sec=nation. Retrieved 2 May 2014.

Thum, Myrko (2008). The Meaning of Finger Pointing to the Moon. http://www.myrkothum.com/the-meaning-of-the-finger-pointing-to-the-moon/. Retrieved 3 May 2014.

Videography

Namewee (2013, 15 January). Namewee Tokok 009: listen听我说15-01-2013 [video presentation]. http://www. youtube.com/watch?v=7Qcd6GkPM-k. Retrieved 27 Feb 2014.

N.N. (2013, 14 January). Listen! Listen! Listen! – Sharifah Zohra Jabeen [live recording]. http://www.youtube. com/watch?v=cV2-IrTKt3o. Retrieved 19 March 2014.

Mat Lufthi (2013, 16 January). Parodi forum suara mahasiswa [video presentation]. http://www.youtube. com/watch?v=RCjsMr658ZQ. Retrieved 27 Feb 2014.

Yuri Wong Music (2013, 14 January). Dance remix: Listen! Listen! When I speak, listen! [music video]. http://www.youtube.com/watch?v=xL25dpv_cg0. Retrieved 19 March 2014.

Yuri Wong Music (2014, 13 January). Kangkung remix. [music video]. http://www.youtube.com/watch?v= Uwy5MH14i8M. Retrieved 1 May 2014.

A Simulation Framework for Assessing ‘Appropriateness’ of Musical Parody in the 21st Century...

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